Tape Dubbing for Class

Tape Dubbing for Class: Techniques & issues
PAC3
Jason Adachi
Miyazaki International College
at
JALT
2001
Conference
Proceedings
MENU
Text Version
Help & FAQ
International
Conference
Centre
Kitakyushu
JAPAN
November
22-25, 2001
In the field of language education, it is generally
acknowledged that offering material to students via
multiple channels of sensory input can greatly enhance
comprehension and learning. Videotapes with or without
L2 captions are widely employed as one means of
achieving this. However, when the material on a tape is
not conveniently arranged in the order in which the teacher
would like to present it, fast-forwarding, rewinding, and the
boggling array of buttons inside the remote control can
disrupt the pace of the classroom. With a minimal amount
of Japanese language familiarity and some patience, even
the most techno-phobic teacher can wire VCRs together
to copy only those parts of a video tape that are needed,
or to create a variety of engaging materials for classroom
use. However, the use of any copyrighted material requires
the consideration of issues of fair use and legality to avoid
inadvertent violations.
言語教育学研究において、学習者に複数の感覚器官を通し
てインプットを与えることの有効性はすでに認識されてお
り、その実際の方法の一つとして、L2のキャプションを付
したビデオあるいはキャプションなしのビデオは教室で広
く使用されている。しかし、ビデオテープに教材が使いや
すいよう記録されていない場合、授業中に早送りしたり巻
き戻したりの作業が必要となり、これは授業の流れを大い
に阻害する。この問題も、必要最小限の日本語の知識とわ
ずかの忍耐があれば解決でき、教育機器に明るくはない教
ADACHI: TAPE DUBBING
FOR
師であっても、VCRの接続を行って必要な部分の編集をし
たり、様々な教材を作成することができる。しかしなが
ら、著作権の設定されている教材を用いる場合には、違
法な著作権侵害を行わないよう、使用に際して細心の注
意が必要である。
CLASS: TECHNIQUES &
ISSUES
copyright issues associated with the duplication and use
of copyrighted materials within the context of education
in Japan.
Basic Hookup of a TV, and 2 VCRs
I
n the field of language education, it is generally
acknowledged that offering students material via
multiple channels of sensory input can greatly
enhance comprehension and learning. Videotapes with
or without L2 captions are widely employed as one
means of achieving this. However, when the material on
a tape is not conveniently arranged in the order in which
the teacher would like to present it, fast-forwarding,
rewinding, and the boggling array of buttons inside the
remote control can disrupt the pace of the classroom.
This poster presentation summary will not attempt
to discuss the theory or pedagogy of video-use in the
classroom, but will instead focus on explaining how
a teacher with limited Japanese language ability can
connect 2 VCRs together to copy and edit both normal
and copy protected video tapes. As computer technology
develops and prices come down, computer-based video
editing programs such as iMovie or Final Cut are
making video editing faster and easier. However, simple
VCR-to-VCR editing may be more efficient for some
basic applications, and a useful alternative in education
programs in which technical resources are limited. The
second part of this document will discuss some of the
PAC3 at JALT2001
This section describes the procedure for hooking up 2
VCRs, and a television for dubbing. An arrangement
of this type is used to transfer recorded information
from one videotape to another, or to edit out unwanted
information when assembling a composite VHS tape.
The hookup can also be used to transfer information
from a video camera to a VHS tape by using a camera
set on “playback” mode in place of the source VCR in
the explanation.
The figure below shows some cables commonly used
in hooking up AV equipment. The red and white cables
have RCA (pin plug) endings. Typically, the rightchannel audio sockets and plugs (R-audio) are red, and
the left-channel sockets and plugs (L-audio) are white.
If either the TV or VCRs are monaural, and a monaural
cable is unavailable, then connect only the white, Laudio, sockets.
757
Conference Proceedings
ADACHI: TAPE DUBBING
FOR
CLASS: TECHNIQUES &
ISSUES
for the video signal just as effectively as one with yellow
endings.
The second type of connection is via an S-video plug.
The yellow cable endings in Figure 1 are S-video plugs.
An S-video connection breaks the video signal into
parts to reduce image degradation in transmission. The
hookup instructions, which follow, will work equally
well with either type of video connection.
1. Obtain an AV cable similar to the one shown in
Figure 1. Attach the red, white and yellow plugs
to the output sockets on the source VCR. These
sockets will be color-coded and marked 音声出力
(audio output) and 映像出力 (video output) on
a Japanese VCR. Note: S-video sockets are often
not yellow, but are instead marked S映像出力 (Svideo).
2. Attach the other ends of the cable to the inputs on
the destination VCR. Audio inputs will be marked
音声入力 and video inputs will be marked 映像
入力.
3. Repeat steps 1 and 2 to connect the destination
VCR to the television.
Figure 1: Cables commonly used in AV hook-ups
The video sockets and plugs are usually yellow.
However, there are two types of video connections. The
first type is an RCA connection similar to the red and
white audio connections shown above. All cables with
RCA pin plug endings are basically the same regardless
of color. The colors are provided simply to reduce the
possibility of getting the ends mixed up. Therefore, as
long as the sockets on the respective machines match,
an RCA cable with red or white endings could be used
PAC3 at JALT2001
A hook-up diagram for 2 VCRs and a television is
provided in Figure 2.
758
Conference Proceedings
ADACHI: TAPE DUBBING
FOR
Figure 2: Hookup Diagram for 2 VCRs and a Television
After the initial hook-up, the TV and VCRs must
be set to receive input from an appropriate source. The
PAC3 at JALT2001
CLASS: TECHNIQUES &
ISSUES
default is usually an antenna signal, but for dubbing
the components need to be set to receive a “line” signal.
Depending on the type and the age of the TV that
you are using, the button may be labeled in Japanese
either as テレビ／ビデオ (television/video) or 入力
切換 (input select). The first is a simple toggle. If your
television is an older model, this may be the only input
selector available. The second will cycle through as many
different inputs as the television has. Inputs are labeled
as 入力１、入力２、etc next to their respective
sockets. Make sure that you set the television to display
the signal from the correct input. In other words, if you
plug the cables into the sockets labeled 入力２, you
must be sure to set the television’s input selector to 入
力２ also. It is very important that the input numbers
match.
You will also need to set the destination VCR to
receive a line signal from the source VCR. VCRs will
either have input selector buttons labeled with 入力切
換 or you will have to select inputs using the channel
selector. To do this, cycle through the channels using the
チャンネル buttons. For example, push the buttons
until the display reads “L1”. This sets the VCR to receive
a signal from “line input 1”. Be sure to set the VCR to
receive input from the correct set of sockets. As with the
television example in the previous paragraph, if you plug
the cables into the sockets labeled 入力１, you must be
sure to set the VCR’s input selector to L1. Usually you
759
Conference Proceedings
ADACHI: TAPE DUBBING
FOR
CLASS: TECHNIQUES &
will be safe matching up the numbers. However, note
that L1 and L2 are different from channel 1 and channel
2, which are commonly denoted by number without the
preceding “L”.
Some machines may display 外部 (external input)
instead of L1 or L2. In this case, the channel number
will disappear and the kanji will appear somewhere on
the display. Look carefully, these characters are typically
very small, but the absence of channel numbers is a hint
that external input has been selected.
Once all of these connections and settings are in place,
dubbing can begin. A checklist of the steps involved in
the set up and the dubbing procedure follow.
Dubbing/Editing A Tape (VCR to VCR)
1. CONNECT – connect all components.
2. POWER - Turn on power to all components.
3. SETTINGS - Set both the TV and the VCR to
receive input from a video source. Typically, this
setting will display L1, L2, ビデオ (video) or 外
部 (external source) somewhere on the machine.
4. If using a video camera in place of a source VCR,
set the camera to PLAYBACK MODE.
5. MASTER TAPE - Be sure that the master tape is
in the source VCR.
6. DESTINATION TAPE - Be sure that there is an
appropriate destination tape in the destination
VCR (either a blank tape, or a tape cued to the
PAC3 at JALT2001
760
ISSUES
spot in which you would like to insert the new
footage).
7. PAUSE MASTER - Press PLAY on the source
VCR and locate the beginning of the section you
wish to record. When you find it DO NOT stop
the machine. Instead press PAUSE on the source
VCR. Be careful of pausing the tape too close to
the beginning of an important sequence. This type
of editing is rather imprecise and too close a cut
may result in some loss.
8. PAUSE DESTINATION - Press REC and
PAUSE on the destination VCR. At this point, the
beginning of the section you wish to record should
be visible on the TV. If it is not, then something
is not set correctly. Recheck your wiring and
settings.
9. RELEASE PAUSE - Press PAUSE on both VCRs
to release the pause mode. This will initiate
recording.
10. PAUSE & SEARCH - When the sequence
you wish to record is over, press PAUSE on the
destination VCR. You can then freely search the
tape in the source VCR for the next section you
wish to record.
11. REPEAT -When you find another selection that
you wish to record return to step 5.
12. STOP - When you are finished recording, press
STOP on both machines. It is recommended
Conference Proceedings
ADACHI: TAPE DUBBING
FOR
that you view the new tape to verify successful
recording.
When copying or editing a commercially produced
tape the issue of copy protection must be considered.
Attempting to copy a tape with such protection will
often result in a duplicate with a distorted picture, color
that comes and goes, or no picture at all. Devices, such
as Sima’s “Video Copy Master” shown in Figure 3, are
available for less than $80. Components like this and
the Japanese-produced “Copy Guard Sweeper,” which
was commonly available up until a few years ago, enable
the reproduction of many protected tapes with greatly
reduced distortion.
CLASS: TECHNIQUES &
ISSUES
A hook-up diagram for using one of these devices is
shown in Figure 4. Note that only the video signal is
routed through the “sweeping” device. An additional
cable with appropriate endings is required to hook
machines up in this manner.
Figure 3: Video CopyMaster SED-CM (Sima)
Figure 4: Hook-up Diagram for Copying Protected Tapes
PAC3 at JALT2001
761
Conference Proceedings
ADACHI: TAPE DUBBING
FOR
As you use these devices and hook-ups, please keep
in mind that the duplication of copyrighted material
is only permissible for purposes that qualify as “fair
use” under copyright law. “Fair use” is discussed more
thoroughly in the sections which follow.
Copyright Issues and “Fair Use”
Generally, the reproduction of commercial videotapes
and other copyrighted materials is prohibited
under the laws of both the United States and Japan.
There are, however, a number of circumstances
under which such copying is permissible. The most
important consideration is the issue of “fair use.” The
determination of whether a given case constitutes fair
use is based on 4 factors outlined in the Copyright Act of
1976:
1. the purpose and character of the use, including
whether such use is of a commercial nature or is
for non-profit educational purposes;
2. the nature of the copyrighted work;
3. the amount and substantiality of the portion used
in relation to the copyrighted work as a whole;
and
4. the effect of the use upon the potential market for
or value of the copyrighted work.
What does this mean for teachers who wish to make
and use videotapes in class? Depending on the specific
PAC3 at JALT2001
CLASS: TECHNIQUES &
ISSUES
activity, fair use applies to different degrees. Since a
teacher’s purpose is generally educational, we don’t
generally have to worry about the first factor. However,
the other three interact with each other in more
complicated ways.
The Japanese regulations governing copyright law and
the use of copyrighted materials in the classroom state
the following:
ARTICLE 35. Replication for use in schools and
other educational institutions
Persons responsible for providing education may
replicate copyrighted materials for the purpose of
use in the curriculum of a course. However, the
consent of the holder of the copyright is required for
replication of drill materials or workbook materials,
or the maintenance of a broadcast program library
that exceeds the boundaries of course curricula, or
other instances in which the possibility of financial
disbenefit to the holder of the copyright due to
replication exists. (Translated from Japanese)
The following “rules of thumb” are guidelines
for determining whether or not a given use can be
considered fair use in the Japanese educational context.
Please bear in mind that these are only guidelines and
are not to be taken as certifiable legal advice in any
762
Conference Proceedings
ADACHI: TAPE DUBBING
FOR
sense. For cases in which a possible copyright violation is
a concern, please seek appropriate legal advice.
1. No profit can be made from showing, duplicating,
or copying selections from a copyrighted video.
2. Any copying must be for a specific educational
purpose (i.e. a specific lesson or activity), and not
for “library building.”
3. In most cases, the recordings made from
copyrighted tapes or off-the-air broadcast should
be destroyed after they are used.
4. No distribution of complete or edited copies of
copyrighted material is permissible without the
consent of the copyright holder.
What this means for what you can show in
your classroom
You can show tapes purchased in Japan or abroad, tapes
borrowed from a library, or tapes rented from a rental
shop as long as you make no profit from the display.
There are two cautions that must accompany this
statement. First, tapes rented from a rental shop can only
be shown if they are not designated as being for “home
use only”. Second, it is probably best to refrain from
showing movies that have not yet been released in Japan.
Doing so could be considered an infringement upon
the movie’s theater-release market and may constitute a
violation.
PAC3 at JALT2001
CLASS: TECHNIQUES &
ISSUES
What this means for what you can copy
In general, the copying of copyrighted materials, either
in whole or in part, is prohibited without the consent of
the copyright holder. However, copying for educational
purposes is permissible if you stay within the guidelines.
You can dub selected clips from a movie to fulfill
specific educational needs if no profit is made, and if
the tape is erased afterwards. You can also edit a tape to
make it fit within a certain time period. However, when
copying or editing, you must be careful not to alter the
dramatic or factual content of the work. In other words,
editing a movie to make it shorter is permissible only
as long as it does not distort the overall story in any
significant way. It is important to note, however, that
lending or copying a tape that has been modified in this
manner is not permissible without the consent of the
copyright holder.
The ATEM Copyright Handbook For Using Movierelated Materials in Education (2000) describes an
interesting example of this pitfall. Suppose a friend tapes
copyrighted material either from another tape or off-air,
and gives it to you to show in class. Neither making nor
showing the tape is a violation as both are presumably
for educational purposes. However, the lending of
the tape (from your friend to you) can be considered
“distribution,” and is therefore illegal.
In addition to selected clips from a single movie, it is
also possible to compile selections from a variety sources
763
Conference Proceedings
ADACHI: TAPE DUBBING
FOR
onto a single tape. In this case, however, it is important
to identify the source of each of the clips, and to separate
the clips so that they are clearly identifiable as being
from different sources.
As a final word, most documents on copyright law
consulted agree that the distribution of duplicates
of copyrighted material, either in whole or in part,
is a copyright violation regardless of whether that
distribution is as a homework assignment, as a review,
or as a keepsake from class. Teachers wishing to do so
should seek permission from the copyright holder.
The Association for Teaching English through Movies
(ATEM) publication on copyright issues (primarily
CLASS: TECHNIQUES &
ISSUES
in Japanese) was of enormous help in preparing this
document. Contact information for this organization
can be found in the bibliography. Further information
can be obtained from the Japan Reprographic Rights
Center (JRRC).
社団法人 日本複写権センター
Japan Reprographic Rights Center (JRRC)
〒107-0061 東京都港区北青山3-3-7 第一
青山ビル３階
TEL 03-3401-2382 FAX 03-3401-2386
E-mail : [email protected]
Bibliography
Association for Teaching English Through Movies (ATEM). (2000) Copyright Handbook For Using Movie-related
Materials in Education. Nagoya: ATEM. Ph: (052)779-1158 FAX: (052)779-1161 e-mail: [email protected]
Suggested Readings (with ISBN Numbers)
Cooper, R., Lavery, M., & Rinvolucri, M. (1991). Video. Oxford: Oxford University Press. ISBN 0-19-437102-6
Lonergan, J. (1984). Video in Language Teaching. Cambridge: Cambridge University Press. ISBN 0-521-27263-7
Musburger, R.B. (1999). Single-Camera Video Production. Massachusetts: Focal Press.
Rosenkranz, P. (1995). The Classroom Video Producer’s Guidebook. Portland, Maine: J. Weston Walch. ISBN 0-82512553-7
PAC3 at JALT2001
764
Conference Proceedings
ADACHI: TAPE DUBBING
FOR
CLASS: TECHNIQUES &
ISSUES
Squires, M. (1992). Video Camcorder School: A Practical Guide to Making Great Home Videos. New York: The
Reader’s Digest Association, Inc. ISBN 0-89577-459-3
Stempleski, S., & Arcario, P. (Eds.). (1992). Video in Second Language Teaching. Teachers of English to Speakers of
Other Languages, Inc. ISBN 939791-41-2
Stempleski, S., & Tomalin, B. (1990). Video in Action. Hertfordshire: Prentice Hall. ISBN 0-13-945619-8
Stim, R. (2000). Copyright Law. New York: Delmar. ISBN 0-8273-7988-9
PAC3 at JALT2001
765
Conference Proceedings